• Cartoon and Animation Studies
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• s.45
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• pp.345-366
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• 2016

In Charlotte's Web, each character motivates the other and strives for the new generation based upon motherhood. The intersection between life and death is directly and symbolically addressed as a component of the natural life cycle. Borrowing Kristeva's theory of the semiotic, the symbolic and the chora, this study investigates the dialectical oscillation between the semiotic and the symbolic and the social circumstances of subjects in signification as well as highlights the features of character growth. From a feminist perspective, herein, motherhood is translated not only as a robust foundation for relations among characters but also as an impetus for developing into a good and influential individual who embraces all organisms with care and consideration. Charlotte's Web clearly shows how the semiotic and symbolic elements of each being, united by motherhood, interact and lead to positive change. Though the world appears to consist of incompatible ingredients, they are combined. Charlotte's Web awakens the fact that their harmony makes a commitment to building a more wonderful place. It can be suggested that Charlotte's Web, where animal characters contain two tendencies of the human mind, exhibits human development proceedings.

• The Korean Nurse
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• v.23 no.3 s.126
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• pp.44-50
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• 1984

한국여성은 전통적으로 대가족제도 속에서 육아 및 가사활동에만 종사해왔다. 그러나 산업화 및 사회구조의 변화로 여성들도 교육의 기회를 갖게 되었으며 전통적인 역할 수행에 대한 가치변화와 함께 여성의 사회적 역할을 필요로 하게 되었다. 반면에 가족 형태가 핵가족화 함으로서 가족 내에서의 자녀양육을 비롯한 가정적 역할이 더욱 중요시 되게 되었다. 오늘날 한국사회는 여성에게 현재의 사회구조와 핵가족 속에서는 시간적으로 동시에 수행할 수 없는 두 가지 상반된 역할을 강조하고 있는 것이다. 이러한 상반된 역할사이에서는 여성은 갈등과 좌절감을 느끼게 되며 이중적인 부담 속에서 생활하게 되었다. 본 원고에서는 전통적인 한국의 가족가치관을 살펴보고 건강관리 측면에서 여성의 역할을 살펴보고 건강관리 측면에서 여성의 역할을 살펴보고자 한다. 전통적 가족가치관과 여성-우리나라의 전통적 가족은 부계 중심의 혈연 계승을 중요시하는 가부장적 대가족제도라 할 수 있다. 따라서 부계 계승을 통한 가족의 영속성과 가 중심사상에 기반을 둔 철저한 가족주의적 가치관이 전통적 사회를 지배하여 왔다. 그러므로 자연히 개인보다 가족집단이 우의적인 지위에 있을 뿐만 아니라 모든 행동의 결정에도 중요한 준거 집단이 되었다. 이러한 가의 영속 및 번영을 가장 효과적으로 수행하기 위해서는 많은 자녀를 필요로 했으며 부계중심 가족에서 자연히 남아 선호사상이 강할 수밖에 없었으며 이것은 조상에 대한 의무요 책임이라 생각했다. 이러한 가부장권의 확대에 반비례해서 가정 내에서 여성의 지위와 역할은 축소되어갔다. 여성들의 절대적인 예속을 필요로 하여 삼종지도니 칠거지악이니 불경이부등의 도덕률을 만들었으며 여성들 스스로가 이러한 정절과 복종을 미덕으로 생각하도록 교육받음으로서 여성들 자신이 자기희생의 굴레 속에서 인내와 복종의 생활을 운명처럼 받아들이게 되었으며 남편과 자식을 위해서는 목숨까지도 희생하게끔 철저히 사회화되었던 것이다. 그러나 가족 제도 안에서의 남녀의 지위는 동위 항렬 내에서만 해당되고 항렬을 달리할 때는 삼종지도의 이론에 부합된다. 어머니로서의 존장련이 인정되어서 가정 내에서의 여성의 종속적인 지위에 비하여 모의 권한은 절대적이었다. 상례와 제례에서 어머니와 아버지에 대한 의식에는 차이가 없으며 내외 명부제도에 의해서 부인도 남편과 똑같은 대우를 받도록 되어있다. 이러한 존장련에 의한 모의 권리와 더불어 부부유별에 의해서 가사권의 독자적인 결정권도 인정되고 있었다. 건강관리 측면에서 여성의 역할- 전통적으로 건강관리에 관련된 한국여성의 역할은 1. 씨받이로서의 역할로 생명을 잉태하도록 돕고 건강한 아이의 수태를 위해 태교에 힘썼으며 2. 자녀의 의식주를 해결하는 가사 역할만을 담당하는 전통적인 여성의 역할만을 수행하였으며 출산한 생명을 건강하게 자라도록 건강관리를 철저히 하였으나 체계적인 건강관리는 되지 못하였으며 특히 식생활에 유의하였으나 정서, 사회면은 도외시 한 과잉보호현상이었다. 3. 결혼 후에는 남편의 건강관리를 위해 철저하였으며 특히 식생활에 유의하였고 정서적으로 부담을 주지 않도록 유념하였다. 4. 또한, 임종시 평안한 죽음을 맞도록 도왔다. 전통적으로 한국여성의 역할은 돕는 역할이었다.

• Review of Culture and Economy
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• v.21 no.2
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• pp.197-229
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• 2018

This study investigates the social discourse for Korean women's leisure culture and analyzes the conflicts between the ideologies which affected to the women's leisure issues with the social and cultural context. For this purpose, this study analyzed a sum of 652,513 words of 4,614 news articles about Korean women's leisure by applying semantic network analysis. In the 1960s, both the enthusiasm for 'modernization' and 'good wife and wise mother' ideologies were simultaneously affected to women's leisure discourse. 'The good wife and wise mother' ideology have a stronger impact on women's leisure culture in the 1970s. In the 1980s, even though the Korean women had higher education background and advanced social status compared to the former periods, both 'good wife and wise mother' ideology and 'modern career women' ideology conflicted each other. The conflicts between the two ideologies were intensified in the 1990s and the women tended to sacrifice their leisure in the course of the ideological conflicts in the 2000s. In the 2010s, women who exhausted due to the intensified conflicts between the two ideologies showed preference for passive forms of leisure.

• (The)Study of the Eastern Classic
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• no.32
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• pp.363-390
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• 2008

In this article, the author studied the relationship between the Sovereign and the follower in Juyeok which contained some eliments, such as Eum-Yang, Soseong 8 gyae, Daeseong 64 gyae. In Juyeok, the 'Sovereign 5 hyo' (1) shows distinctiveness in basic characteristics whether they are Eum or Yang(high level classification), (2) shows characteristics of Soseong-gyae to which they belong(middle level classification), (3) shows different characteristics according to Daeseong-gyae's circumstances(low level classification). Five Yanghyo are regarded as male sovereign having masculinity, whereas five Eumhyo are female sovereign with femininity. Gungyae is the most 'sturdy type leader' who possesses dignity and has good judgement. Taegyae, the blessing type leader, holds affection and calmness within sturdiness. Rigyae is gorgeous and passionate 'enthusiastic type leader'. Jingyae, the pioneering leader, bravely starts ascending in Eum-dominant atmosphere. Songyae has the virtue of hesitancy and concession, known as the leader of humbleness. Gamgyae always stay low and calm, regarded as a leader of sense. Gangyae shoots up from the earth, meaning a leader of strong will. Gongyae, embracing type leader, is straight and square, though it tries to embrace everything. Daeseong-gyae(64gyae) is formed by Soseong-gyae piling another Soseong-gyae. The characteristics of Soseong 8gyae are embodied in two-level form, the top(inner gyae) and the bottom(outer gyae). Simultaneously, the whole characteristics of 대성괘 are embodied. The Sovereign should show his/her leadership based on the 'characteristics of Daeseong-gyae'. These characteristics are the contingency from 'contingency leadership'. In other words, they are preconditions which leaders ought to admit.

• (The)Study of the Eastern Classic
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• no.62
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• pp.177-207
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• 2016

This essay is dealing with Yang-Ming Studies' fundamental ideas, which are the goal of learning, the cultivation theory, and the ultimate goal in Yang-Ming-Xin-Xue. The first, what is the goal of learning in Yang-Ming-Xin-Xue: It is generally accepted idea that the goal of learning in Yang-Ming-Xin-Xue is to be a sage. But there are different suggestions about the ideas above. The reason is like this: Zhu-Zi-Studies was eager to be a sage through its cultivation theory. Yang-Ming-Xin-Xue criticized the cultivation theory in Zhu-Zi-Studies. Therefore, some people don't agree with the idea that the goal of learning in Yang-Ming-Xin-Xue is to be a sage. In this essay, I try to demonstrate that the goal of learning in Yang-Ming-Xin-Xue is to be a sage. The second, What is the major cultivation theory in Yang-Ming-Xin-Xue: The core cultivation theory is the Zhi-Ling-Zhi(Fulfillment Innate Knowledge of Goodness). For this, there is no question, but it is difficult how to learn and practice Zhi-Ling-Zhi in the daily life. I try to explain the right meaning and practice over Zhi-Ling-Zhi. The third, what is the ultimate goal in Yang-Ming-Xin-Xue: It is general method in examine Yang-Ming-Xin-Xue that is comparing with Zhu-Zi-Studies. So there is a natural tendency focusing on the differences and similarity between Yang-Ming-Xin-Xue and Zhu-Zi-Studies. But If I say, what is the ultimate goal in Yang-Ming-Xin-Xue? That is the realization of Ren, Which is the harmony with all things in heaven and earth.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.45-62
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• 2021

This article examines celeactor as cultural contents focused on the multi-persona in a South Korean reality show program . The celeactor is a form of celebrity and part of a celetoid. Celebrity can be categorized by three forms: ascribed form, achieved form and attributed form. In attributed form, the celetoid suddenly becomes popular through the media. The celeactor is a subcategory of the celetoid. The celeactor is defined by a virtual character that exist in temporary or institutionalized traits of popular culture. The Korean celebrity culture presents Korean intellectual factors, spiritual aspects, tastes, moral virtue, power relationships and traditional hierarchy. In order to examine the features of the Korean celeactor in cultural contents, this article focuses on the multi-persona of celebrity in South Korean popular culture through fantasy, challenge and nostalgia. This article examines the multi-persona of celebrity represented in South Korean popular culture as a negotiated response to cultural identity deconstructed and reconstructed in performance. The research methodology is to analyze a South Korean television reality show program on MBC Hangout with Yoo that represents various sub-characters performed by Jae-suk Yoo, a South Korean comedian and host. As for theoretical underpinning, this exploration joins work on Erving Goffman's (1959) notion of self-presentation and Chris Rojek's (2001) celebrity studies.

• The Korean Journal of Coaching Psychology
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• v.7 no.3
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• pp.197-225
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• 2023

In this study, the impact of Competitive Anxiety on Cognitive Appraisal and Performance Confidence among Amateur baseball players was investigated, as well as the mediating role of Cognitive Appraisal in this relationship. Furthermore, the moderating effect of Character Strengths related to positive psychology on the relationship between Competitive Anxiety and Cognitive Appraisal was explored, dividing these Character Strengths into six virtues. To conduct this research, an online survey was administered to 201 Amateur baseball players aged 19 and above. The result of this study are as follows. First, it was found that the association between Performance Confidence and Competitive Anxiety is mediated by Cognitive Appraisal. Second, Character Strengths showed a moderating effect in the relationship between Cognitive Appraisal and Competitive Anxiety. Thirdly, statistical significance was shown for the moderated mediation effects. Specifically, it was established that values like Transcendence and Justice would considerably moderate the relationship. Notably, the degree to which Cognitive Appraisal declines as a result of Competitive Anxiety was found to be mitigated by Transcendence and Justice Character Strengths. In conclusion, based on the results of this study, implications, limitations were discussed.

• Cartoon and Animation Studies
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• s.38
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• pp.1-28
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• 2015

The work appeared a featured female character in the Disney animation film begins with 'Snow White' released in 1937. After then, the 11 female characters appeared included 'Tangled' in 2010. Female characters reveal their identity due to obedient, family-oriented and marriage with prince and then gradually develop to heroine who leads to man, and is independent, pioneering, and sometimes saves the nation. Nevertheless, the ending of the Disney animation was still not escape the institutional, traditional discourse. Female characters are followed to meet the featured actor kissing and marriage, or was to show the virtues of sacrifice for the actor. However, Elsa in 'Frozen' is the character with an independent identity compared with the patriarchy, male chauvinism and heterosexual dichotomous discourse given so far in Disney. In this study, it is to explain the change of gender identity in the character of Elsa through Queer theory that deconstructs the distinction between sex and gender, and is constituted by the actions typed and performed the gender concept, and is dismantling the dichotomy itself such as male/female, heterosexual/homosexual. The performative of Queer make the boundaries between lesbian-gay, sexuality and heterosexual ambiguous. It can be said that the performative has political nature resisted to the dominant discourse through these parodiable strategy. The performative showed of Elsa is in the boundaries between the sisterhood and the heterosexual. When analyzed in a heterosexual perspective Elsa's identity is to be understood as simply just love the intimacy of a sister and a sister. On the other hand, if you focused on the relationship between women and the relationship between Elsa and Anna is recognized as the point of view of homosexuality. Because if you look at the concept of lesbian continuum, the homosexual love in the female characters of Disney seems like a bond between women, easier than heterosexual love can be hidden sexual desires. Elsa has developed into a performative identity through the expression of performative and the inhibitory of queer identity. And then the her sorcery that was initially contraindicated and the presence of a fear became to the 'lesbian phallus'. The sorcery that can be seen the signifying phallus against to the privileges of heterosexual patriarchy is recognized in the world of Arendal. Elsa is a new women featuring Disney characters. as this character is analysised by Queer theory, this study seeks to expand the area of the various character analysis methods.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.105-113
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• 2015

The theory of landscape architecture applies environmental ethics in order to secure an ecological status. However, environmental ethics that focus on nature conservation excludes landscape architecture as artifacts. In the process, it is hard to identify what landscape architecture insists on as the middle position between humans and nature. Rather, landscape architecture pretends to be an 'agent of nature' and pushes the traditional moral values 'for people.' Therefore, the purpose of this study is to reestablish the anthropocentrism moral position of landscape architecture through critical analysis. Hargrove's weak anthropocentrism' of several environmental ethics branches accepts natural aesthetics(such as landscape architecture) as an ethical virtue. But environmental ethics makes landscape architecture a critical target. For that reason, this study looked into critical contents and objects that in a position to moral, aesthetic and landscape architecture. Critical details are as follows: First, nature is an absolute as an aesthetic and moral value, but landscape architecture is an imitation and takes a relaxed attitude about nature. Second, nature is full of aesthetic substance because it is self-creative, but landscape architecture is designed nature covered human flaws through imagination. Third, environmental management granting techniques in nature generate a moral nihilism. As an argument, environmental ethics overlooked the moral practices of landscape architecture beyond nature another moral aspect of creation and the imagination-and moral aspects of environmental management as 'care' because they rule out 'moral autonomy' and simplify what is considered 'good.' As a result, conservation cannot be the only virtue why the problem of nature in reality cannot be separated from human life. The moral position of landscape architecture based on a 'good life' is more appropriate under anthropocentrism than as a middle position.

• The Journal of Art Theory & Practice
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• no.8
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.